The below quote is from Will Durant as he attempts to encapsulate Aristotle's view on art:
When I came across this statement from Will Durant I decided to re-read Aristotle's Poetics to see how representative it was.
Aristotle studied at Plato's Academy in Athens, which brings continuity from Socrates -> Plato -> Aristotle.
Plato:
"And when someone honors beauty more than virtue, this constitutes nothing other than a real and thorough dishonoring of the soul" // Plato, Laws, Book B, 727d.
Socrates and Plato held an often times contemptful view of the poet or artist, expressed on several occasions in Plato's Republic.
This is likely because the artist was viewed as an imitator, in the negative sense. Reality is of course of higher value than any imitation. We might add to this that Socrates was sometimes ridiculed by contemporary poets.
Another point of irritation for Socrates was when poets celebrated and waxed sentimental over unethical men and portrayed them as heroes. It is possible that this latter case was Socrates' primary annoyance with the art of poetry.
Aristotle:
"What aims at reality is better than what aims at appearance".
// Aristotle, Rhetoric, Book I, 1365-b.
While there is overlap here between Aristotle and Plato there is also a clear divide. Plato is mainly concerned with ethics whereas Aristotle is more fascinated with analysis and substance. The ethics is obvious to Aristotle, what interests him even more is the practical considerations that can be made.
Aristotle continues:
"What a man wants to be, is better than what a man wants to seem (to be), for in aiming at that he is aiming more at reality".
Here Plato would focus on the ethical reasoning of 'being rather than seeming', while Aristotle is primarily occupied with the alignment to reality. For Aristotle, actions define us and it is through action that we realize our potentials. This in turn requires aims that are followed through - a fully practical process that does not involve pretense, but instead work and sweat. The point for Aristotle is not to spend time despising others for being unethical, but to inspire the proper practical achievement.
"And it is also natural for all to delight in works of imitation."
/ Aristotle, Poetics, Chap 3, 1448-b-9
Aristotle's remark here relates to delighting in realistic representations of things. He points out that we learn something from observing a realistic imitation.
Aristotle continues by observing that 'learning' is the 'greatest of pleasures'. He expands to say that 'gathering the meaning of things' is a part of what he is referring to by learning.
There is in Aristotle a focus on substance that isn't isolated to exterior appearance, but rather to attain some form of understanding of what we are observing.
In the artform of Tragedy, Aristotle counts six parts, where he highlights the Plot.
"And again: the most powerful elements of attraction in Tragedy, the Peripeties and Discoveries, are parts of the Plot".
/ Aristotle, Poetics, Chap 6, 1461.33
He continues:
"We maintain, therefore, that the first essential, the life and soul, so to speak, of Tragedy is the Plot".
Aristotle then lists Characters as the second most important part of the Tragedy art form:
"Characters come second - compare the parallel in painting, where the most beautiful colours laid on without order will not give one the same pleasure as a simple black-and-white sketch of a portrait".
There is in Aristotle a focus on actions, meaning and realism. Beautiful, decorative details are less important than capturing the true essence of something.
It is the plot and characters that makes the story significant to us, not the dramaturgical expressions on a stage; the Spectacle.
"The Spectacle, though an attraction, is the least artistic of all the parts, and has least to do with the art of poetry. The tragic effect is quite possible without a public performance and actors."
/ Aristotle, Poetics, Chap 6, 1450.b.16
"From what we have said it will be seen that the poet's function is to describe, not the thing that has happened, but a kind of thing that might happen."
/ Aristotle, Poetics, Chap 7, 1451.a.35
There is attention to realism in terms of artistic plausibility, while not necessarily an exact imitation.
He continues:
"Hence poetry is something more philosophic and of graver import than history, since its statements are of the nature rather of universals, whereas those of history are singulars".
Art builds upon timeless principles that can be understood intuitively and metaphorically, whereas history is locked into specifics.
"It is evident from the above that the poet must be more the poet of his stories or Plots than of his verses".
Again, Aristotle is looking at the meaningful significance of actions, plot and characters, rather than the exact outward format of the verse.
"Of simple Plots and actions, the episodic are the worst. I call a Plot episodic when there is neither probability nor necessity in the sequence of its episodes".
Improbable elements in a story are serious flaws for Aristotle. This is also an extension of his realism.
"The Plot in fact should be so framed that, even without seeing the things take place, he who simply hears the account of them shall be filled with horror and pity at the incidents."
/ Aristotle, Poetics, Chap 14, 1453.b.3
This is worth some reflection. Aristotle attempts to identify some kind of markers at this point by which we can identify a gripping plot. In short, it must stand on its own legs. This is yet another example of Aristotle's focus on the inner workings of a story or plot over the outward expression.
His realism is attuned to the inner, psychological motivations and plausible depictions of these, rather than merely ornamental or visual effects.
"The tragic pleasure is that of pity and fear, and the poet has to produce it by a work of imitation".
This perfectly encapulates Aristotle's positive use of the term imitation. The imitation he is talking about is an alignment with realistic internal realms, and how those can extend to the audience and create a meaningful experience.
"A likely impossibility is always preferable to an unconvincing possibility.
The story should never be made up of improbable incidents; there should be nothing of the sort in it."
/ Aristotle, Poetics, Chap 24, 1460.a.26
"Any impossibilities there may be in his description of things are faults.
But from another point of view they are justifiable, if they serve the end of poetry itself - if they make the effect of either that portion of the work or some other portion more astounding"
(1460.b.23)
This is where Aristotle shines, as he's playing the devil's advocate against his own argument.
While he is not yielding from his fiercely anchores principles, he is offering an alternative solution. If the artistic expression benefits it is possible depart from these strict guidelines.
At the end of the day, a compelling result is what matters.
In conclusion, I think it's fair to attribute the quote to Will Durant, as an interpretative summary of Aristotle on art. The inward significance is clearly highlighted in Aristotle. With some nuances.
Thank you for reading.
#Aristotle #Plato #Socrates #Writing #Plot